Hitchcock’s queer doubles
The “double” is a well-known Hitchcockian motif. Widelyreviewed under a psychoanalytical perspective, the issue ofthe double still presents other important challenges and thisarticle aims at discussing the queer doubles in Hitchcock’s films as “falsifiers” who are opposed to non-queer doubles thatem...
| Main Authors: | , |
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| Format: | Article |
| Language: | English |
| Published: |
Universidade Federal de Santa Catarina
2013-12-01
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| Series: | Ilha do Desterro |
| Subjects: | |
| Online Access: | https://periodicos.ufsc.br/index.php/desterro/article/view/31800 |
| _version_ | 1818491184038805504 |
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| author | Alessandra Brandão Ramayana Lira |
| author_facet | Alessandra Brandão Ramayana Lira |
| author_sort | Alessandra Brandão |
| collection | DOAJ |
| description | The “double” is a well-known Hitchcockian motif. Widelyreviewed under a psychoanalytical perspective, the issue ofthe double still presents other important challenges and thisarticle aims at discussing the queer doubles in Hitchcock’s films as “falsifiers” who are opposed to non-queer doubles thatemphasise narrative coherence and legibility. In films such asRebeca, Rope, Vertigo, The Birds, Psycho, and Frenzy, a doublecondenses impulses that are well described by Lee Edelman: “theviolent undoing of meaning, the loss of identity and coherence,the unnatural access to jouissance” (132). These doubles releasethe powers of the false as they complicate the return to an “order”.Therefore, we could argue that such characters are closer tobeing Deleuzian simulacra than psychoanalytical doppelgängers. |
| first_indexed | 2024-12-10T17:27:21Z |
| format | Article |
| id | doaj.art-202dff070a664402ba915b7c42cc7741 |
| institution | Directory Open Access Journal |
| issn | 0101-4846 2175-8026 |
| language | English |
| last_indexed | 2024-12-10T17:27:21Z |
| publishDate | 2013-12-01 |
| publisher | Universidade Federal de Santa Catarina |
| record_format | Article |
| series | Ilha do Desterro |
| spelling | doaj.art-202dff070a664402ba915b7c42cc77412022-12-22T01:39:48ZengUniversidade Federal de Santa CatarinaIlha do Desterro0101-48462175-80262013-12-0106501702810.5007/2175-8026.2013n65p1721088Hitchcock’s queer doublesAlessandra Brandão0Ramayana Lira1UNISULUNISULThe “double” is a well-known Hitchcockian motif. Widelyreviewed under a psychoanalytical perspective, the issue ofthe double still presents other important challenges and thisarticle aims at discussing the queer doubles in Hitchcock’s films as “falsifiers” who are opposed to non-queer doubles thatemphasise narrative coherence and legibility. In films such asRebeca, Rope, Vertigo, The Birds, Psycho, and Frenzy, a doublecondenses impulses that are well described by Lee Edelman: “theviolent undoing of meaning, the loss of identity and coherence,the unnatural access to jouissance” (132). These doubles releasethe powers of the false as they complicate the return to an “order”.Therefore, we could argue that such characters are closer tobeing Deleuzian simulacra than psychoanalytical doppelgängers.https://periodicos.ufsc.br/index.php/desterro/article/view/31800alfred hitchcockdoublesqueerpower of the false |
| spellingShingle | Alessandra Brandão Ramayana Lira Hitchcock’s queer doubles Ilha do Desterro alfred hitchcock doubles queer power of the false |
| title | Hitchcock’s queer doubles |
| title_full | Hitchcock’s queer doubles |
| title_fullStr | Hitchcock’s queer doubles |
| title_full_unstemmed | Hitchcock’s queer doubles |
| title_short | Hitchcock’s queer doubles |
| title_sort | hitchcock s queer doubles |
| topic | alfred hitchcock doubles queer power of the false |
| url | https://periodicos.ufsc.br/index.php/desterro/article/view/31800 |
| work_keys_str_mv | AT alessandrabrandao hitchcocksqueerdoubles AT ramayanalira hitchcocksqueerdoubles |